Lyric Stage’s Genre-Defying ‘Preludes’ Is A Trip

Cast of ‘Preludes’ at Boston Lyric Stage

by Shelley A. Sackett

I readily admit I am one of those theatergoers who enjoys plot, dialogue and purpose. You can throw in all the special effects, time warp gimmickry and non sequiturs you want, but they are the icing, not the cake. You can give me experimental, but don’t leave out the context.

So it took me some time to figure out exactly what was going on in ‘Preludes.’ In fact, it took me until intermission when I both googled a synopsis and read the playbill’s fine print.

The setting of Dave Malloy’s mash up of musical and drama is inside the mind of Russian composer Sergei Rachmaninoff. The play opens in 1900 Moscow. “Rach” (Dan Prior) is having a bad day. In fact, he’s had a bad three years’ worth of bad days, starting with the ruinous premiere of his “First Symphony.” Critics viciously panned the piece (and the drunk conductor), leaving Rach in a creative void, wondering if he would ever write again.

Dan Prior and Aimee Doherty

He also fears that his wildly successful “Prelude in C-sharp Minor,” which he wrote as a 19-year-old, was the sum total of his career. Does he have talent or only luck? Was that the best piece he will ever pen? And most importantly, how did he do it?

At the urging of his frustrated fiancée, piano teacher Natalya (Kayla Shimizu), Rach visits hypnotherapist Nikolai Dahl (Aimee Doherty) for help clawing his way out of this black hole of asphyxiating self-doubt and paralyzing writer’s block. Dahl puts him into a trance and, with the audience in lock step, Rach takes a tour of every trauma that paved his path to the present.

Although this is no yellow brick road, the journey is peppered with its own version of winged monkeys, wicked witches and ruby red shoes. People float in and out of Rach’s internal world of jumbled stream of consciousness and disorienting ordeals. Chekhov Tchaikovsky and Tolstoy (all played by the always fabulous Will McGarrahan) show up, offering varying degrees of encouragement and torture. Where does art come from? they ask unhelpfully.

Prior, Kayla Shimizu

Against the gossamer confusion of Rach’s mind are shimmering tidbits of actual plot. His impending marriage to his first cousin Natalya requires the permission of the Czar, and the two discuss and plan their audience with him. Rach’s personal and professional struggles are likewise real and earthbound.

And then there is the brilliance behind Malloy’s use of music and musicians as integral parts of his theatrical vision. A Liberace-worthy white piano occupies center stage. Dan Rodriguez (also Musical Director), in formal attire, plays a combination of Rachmaninoff, Malloy and Rachmaninoff/Malloy hybrid pieces throughout the two hour (one intermission) production. (Thank goodness the volume was lower during the second act. It drowned out the actors during the first half, adding to audience frustration).

A heartbeat like rhythm is a cloud cover for the stage. The use of classical, electro-pop and musical loops lend an excitement and wildness. The 13 musical numbers give Malloy and the actors a chance to show their musical chops. Every duet is resplendent, especially those with Prior and Shimizu. Anthony Pires, Jr. is a showstopper as Chaliapin, his movements as lithe as his baritone is full-bodied.

Although ‘Preludes’ floats in the metaphorical ephemeral, it also celebrates Rachmaninoff’s music, legacy and determination to find his own creative agency. Malloy and Lyric Stage Company have given us an opportunity to expand our theatrical horizons, loosen the reins and just go with the flow, and for that we thank them. For more information and tickets, go to:

‘Preludes’ — Music, Lyrics, Book and Orchestration by Dave Malloy. Directed by Courtney O’Connor; Music Direction by Dan Rodriguez; Scenic Design by Shelley Barish; Costume Design by Rachel Padula-Shufelt; Lighting Design by Karen Perlow; Sound Design by Andrew Duncan Will. Presented by The Lyric Stage Company of Boston, 140 Clarendon St., Boston through February 5.

High Spirited ‘Chicken & Biscuits’ Marks Front Porch’s First Solo Production

Cast of ‘Chicken & Biscuits’ by The Front Porch Arts Collective at Suffolk University Modern Theatre

By Shelley A. Sackett

The architectural bones of Suffolk University’s Modern Theater are a set made to order for ‘Chicken & Biscuits,’ the first solo production by The Front Porch Arts Collective, a Black theater company whose previous presentations have been in collaboration with other larger companies.

With its dark wood pews and balconies and Cluny-esque murals, we feel like part of a congregation even before the setting shifts from Reverend Reginald and Baneatta Mabry’s New Haven home to the sunlit church where Reginald will preside over the funeral of revered Pastor Bernard (“B”) Jenkins, his former father-in-law.

The play opens in the Mabry home, with Baneatta and Reginald preparing to attend Bernard’s funeral. Baneatta sits alone, having a private tête-a-tête with God, with Whom she is on intimate and joking terms. Within easy eavesdropping distance, the audience gets the lay of the land. All is not peace and love between Baneatta and her younger sister, Beverly, who buttoned-up Baneatta describes as a wild woman. The two have not seen each other in a while and, based on that most recent encounter, Baneatta anticipates the worst.

Reginald comes downstairs, interrupting Baneatta’s conversation. With B’s passing, Reginald inherited his pulpit. Bernard’s funeral is his first lead sermon in this new role, and he’s as nervous as his wife, but for different reasons. B was the glue that held both family and church together, leaving Reginald with pretty big shoes to fill. That his opening act will be B’s eulogy is daunting enough without the threat that the two rivalrous sisters will be at each other’s throats.

“Today should be a day of memory and healing for the family, not chaos,” he reminds Baneatta, offering her the chance to talk.

“I already talked about it with Jesus,” she replies, to her husband’s visible relief.

The scene shifts to Beverly and her 15-year-old daughter La’Trice as they get ready for the funeral, and we immediately understand the Mabry’s trepidation. Beverly is smoking a cigarette in her nonsmoking hotel room, defiantly blowing the smoke out an opened window. She is as brazen, brassy and flamboyant as Baneatta is proper, reserved and patrician. She is a spitfire to be reckoned with and she is also VERY loud.

For her father’s funeral, she has chosen a sausage-casing tight and revealing blue lounge singer dress and rhinestone studded belt and stilettos (Costume design by Zoe Sundra) . Even her aspiring rapper daughter, dressed in raggedy chic hip hop, asks if she maybe should tone it down a bit. Beverly will hear none of it. This funeral is a celebration, she says; and besides, there may be some good husband hunting to be had.

Rounding out the family are Kenny, Reginald and Baneatta’s gay son, and his sister Simone.  Kenny has brought his white, Jewish partner Logan to the funeral, hoping that his mother and sister will finally accept him for who he is, as his grandfather did. Simone, unlucky in love and as serious and perfection-obsessed as her mother, is nursing a recently trampled heart, searching for her lost self-esteem.

There is also a shadow lurking in the wings, a mysterious series of phone calls from someone Baneatta does not want to hear from, especially not on the day of her daddy’s funeral. (No spoilers here!)

As the family gathers, each member’s backstory is exposed, along with their strengths and Achilles’ heels. The conversations leading up and after the funeral service are meaty and thought-provoking. La’Trice confides in Simone that she wonders if she would have turned out a different person if she had known her father, whom she has never met. Simone confesses to Kenny that after her Black boyfriend dumped her for a white girl, she stopped eating for three months. “I can’t understand why God would want me to hurt this way,” she tells him.

For his part, Kenny wants to be open and accepted, something his mother and sister have refused to do. “A life style is something you choose. My sexuality is who I am,” he explains to Simone. “How do you find yourself while you’re trying to hide yourself?”

While the family may present as dysfunctional and unhealable, Reginald’s brilliant eulogy and each member’s parting words show how much their father and grandfather touched each of their lives. “You weren’t perfect, but you loved us perfectly,” Baneatta shares.

The play, however, and especially this production, is a lot more than somber reflections on family dynamics. God, shame, love, loyalty, joy, secrets and empathy are all given their moment in the sun.

It is also a hilarious dramedy with a script full of belly laughs. When the mysterious caller shows up at the funeral, a slow-motion meltdown of destruction set to a Rap song ensues. Thanks to Lyndsay Allyn Cox’s direction and her talented cast, there are also engaging performances all around. Robert Cornelius brings his honeyed baritone and charismatic presence to the role of Reverend Reginald Mabry. Jacqui Parker plays Baneatta with grace, gravitas and soul. She is the cornerstone of ‘Chicken & Biscuits,’ and Parker commands the stage, grounding and centering the play from start to finish.

Thomika Bridwell gives it her all — and then some — when playing the irrepressible side of Beverly, but truly shines when modulating and portraying her quieter, more contemplative counterpart.

Lorraine Kanyike brings a freshness to La’Trice, and Adrian Peguero and Sabrina Lynne Sawyer stand out as siblings no longer rivalrous. But it is Mishka Yarovoy who chews up the scenery as Logan, Kenny’s neurotic Woody Allenesque partner whose spot on physical comedy is matched by his impeccable timing.

Erik D. Diaz’s economical and effective set magically transforms the Mabry home into a church by removing of a few panels to replace windows overlooking a tree-lined street with stained glass panes. M. Berry’s lighting design and Anna Drummond’s sound design complete the effect.

By the end of the one hour and 45 minute (no intermission) performance, the audience has bonded with this family and is ready to join them in their cathartic denouement of digging into chicken, biscuits and all the fixings, Bernard’s favorite dinner. After all, we’ve been riding shotgun on the messy journey that pulled them apart. It’s only fair that we share the glory too.

Chicken & Biscuits’ — Written by Douglas Lyons. Directed by Lyndsay Allyn Cox; Scenic Design by Erik D. Diaz; Costume Design by Zoe Sundra; Lighting Design by M. Berry; Sound Design by Anna Drummond. Presented by The Front Porch Arts Collective at Suffolk University Modern Theatre, 525 Washington St., Run has ended.

‘Little Women: The Broadway Musical’ Is Another Home Run for Greater Boston Stage

Cast of ‘Little Women’ at Greater Boston Stage Company – L to R Sarah Coombs, Liza Giangrande, Amy Barker, Abriel Coleman, Katie Shults

‘Little Women: The Broadway Musical’ – Book by Allan Knee based on the novel by Louisa May Alcott. Lyrics by Mindi Dickstein and Music by Jason Howland. Directed and Choreographed by Ilyse Robbins. Music Directed by Matthew Stern. Scenic Design by Shelley Barish. Lighting Design by Katie Whittemore. Costume Design by Gail Astrid Buckley. Sound Design by John Stone. Presented by the Greater Boston Stage Company, Stoneham through December 23.

by Shelley A. Sackett

Greater Boston Stage Company has a knack for picking the perfect material and director for its holiday offering. Last year, the musical, ‘All Is Calm,’ also directed and choreographed by the talented Ilyse Robbins, was a crowd pleaser that raised the bar and spoke to audience members of all faiths with a message that transcended the usual Christmas pablum. This year, with its flawless production of Little Women: The Broadway Musical, that bar got even higher. At 150 minutes (including intermission), the play didn’t seem too long, a feat in and of itself.

Based on Louisa May Alcott’s tale of four respectable sisters growing up poor but honest in Civil War-era Concord, MA, the musical follows the adventures of Meg, Jo, Beth and Amy March. Their individual personalities bubble up from the get go. Meg (the riveting Sara Coombs) is the eldest and most traditional of the sisters, prim and proper but romantic and sweet-natured. Jo (Liza Giangrande, giving a grand performance), the willful, spirited center and Alcott proxy in her novel, “Little Women”, is a perfect musical-theater heroine. Equally driven to become a published author and challenge stereotypes about what it means to be a woman, she belongs on the masthead of Ms. Magazine.

Beth (third year Boston Conservatory at Berklee student Abriel Colemanis) is timid, musical, and selflessly encouraging and helpful. By contrast, Amy (Katie Shults) is the spoiled baby of the family, overindulged and used to getting her own way. Shults plays her perfectly, capturing her pouty, tantrum-prone outbursts without erasing her underlying puppy-like irresistibility. At the helm of this brood is Marmee (the rock solid Amy Barker), the backbone of the March family who manages to remain strong in spite of the difficulties she faces.

The play opens in New York, where Jo is living at Mrs. Kirk’s boarding house, trying to peddle her wild, swashbuckling stories to anyone who will listen to her pitch. Fritz Bhaer (subtly and effectively played by Kevin Patrick Martin), the sensible German professor also boarding with Mrs. Kirk, tries to persuades Jo that she is better than the “blood and guts stuff” she has chosen to write. She should try, he urges, to write more from her heart about what she knows.

In a magnificent flashback that establishes the cast’s astonishing vocal and physical abilities, Jo tells him about the “Operatic Tragedy” she wrote and had her family perform on Christmas one year. The actors bring Jo’s story to life in true melodrama form. Coombs, in particular, shines.

Thanks to a well-designed triptych set (Shelley Barish) and spot-on lighting (Katie Whittemore), the audience has no trouble following the action as it moves from the March home to New York to the March attic, which is Jo’s special writing cave.

Along the way, we are introduced to characters who add spice while moving the plot along. Wealthy Aunt March (a terrific Deanna Dunmyer) wants to take Jo under her wing and treat her to a tour of Europe, but only if she agrees to change from a tomboy to a proper society lady. Their duet, “Could You?” is as musically stunning as it is hilarious. Dunmyer steals every scene she is in with her acerbic wit and perfect, sing-song cadence.

When Meg and Jo are invited to a St. Valentine’s Day ball, they meet Theodore “Laurie” Laurence (Kenny Lee, talented and poised beyond his years), the lonely and guileless boy next door who infiltrates the March sisterhood and becomes an honorary brother. He and Jo share an ease and intimacy that, unfortunately for Laurie, doesn’t translate into romance.

While hardly the most sophisticated or musically unforgettable show to hit Broadway (critics gave it a lukewarm reception when it played in 2005), the cast and crew at Greater Boston Stage hone in on its strengths and wring it dry. Robbins’ director and choreographer chops are on full display and Music Director Matthew Stern is worth his weight in gold. Gail Astrid Buckley’s period costumes add just the right touch.

But the real standing ovation goes to the universally airtight performances by an impeccable ensemble cast. What a gift to their audience, especially to this viewer, who has the enviable pleasure of writing an effusive review of a not-to-be-missed show. For tickets and information, go to:

Cirque de Soleil’s ‘Twas the Night Before…’ Is True Family Holiday Fare

Cirque du Soleil’s ‘Twas the Night Before…’ at the Boch Center

by Shelley A. Sackett

‘Twas the Night Before…, Cirque de Soleil’s first Christmas show, delivered a sunny holiday respite from the blinding rain last Wednesday night. But the 85-minute intermission-less show was more than just shelter from the storm — it was a family-friendly retelling of the familiar Christmas classic with all the thrill, glitz, and mind-boggling contortions that have become Cirque de Soleil trademarks.

The lighting, set design and costumes were nothing to sneeze at, either.

Inspired by Clement Clarke Moore‘s poem, “A Visit From St. Nicolas,” the updated Cirque version tells the story of teenaged Isabella (Alicia Beaudoin) and her journey from world weary self-absorbed indifference to renewed wide-eyed reverence and appreciation for the magic that is the Christmas spirit.

The show opens on Christmas Eve, and Isabella and her father (Benjamin Thomas Courtney) are set to read “A Visit from St. Nicholas,” as they do every year. Only this year, Isabella feels she is too cool for such an old fashioned and boring tradition. She is simply too trendy for her father and his outdated ways.

Alicia Beaudoin and Benjamin Thomas Courtenay

Her dad is frustrated that his once close relationship with his daughter has been disrupted by smart phones and social media. He hopes reading the poem together will rekindle Isabella’s passion for Christmas. He tries everything, but not even the gift of a bow-adorned bicycle can snap her out of her Scrooge-like mood.

Suddenly, like magic, the poem comes to life. A snowstorm comes out of nowhere, , separating Isabella and her father and sending them on a fantastic journey full of — you guessed it — circus performers.

And this is where the show really takes off.

Isabella wanders through this wonderland, and we walk in her shadow through an enchanted wonderland of tinsel arches (12,200 linear feet of garland) and piles of glistening snow (5,000 cubic feet, or five large dump trucks’ worth). Each change of hue in the lighting creates a new mood and dream-like charm, signaling a new act that is inspired by separate lines from the poem.

In the Land of the Poem, Isabella encounters the Straps Duo, an aerial act performed 20 feet in the air. Jolly the Juggler is a colorful and comedic character who befriends her and becomes her guide. The Acrobatic Table Act features naughty children who make a ruckus while waiting for Santa to arrive. Their charming striped pajama costumes with animal ear hoodies evoke children’s cake toppers come to life.

There is the saucy and spoiled starlet, Ava, who performs remarkable feats on a gilded luggage rack in a sequined outfit that makes her look like the gift she thinks she is. Two disco-clad green-haired roller skaters reach speeds up to 30 mph on a platform just six feet in diameter. Most remarkably, an artist is suspended by her hair, performing 100 turns at a top speed of seven turns per second. Clad in a silver sequined costume and palming globe lights, she is breathtaking, part spritely ballerina, part sexy Tinkerbelle.

There is a snowball fight that overflows into the audience, disco dancers, performers in the aisles and other tricks guaranteed to thrill the youngsters and keep them engaged. In short, it is good old-fashioned family entertainment with something for everyone.

Eventually, Isabella and her father reunite, and together they read aloud the familiar lines that introduce Santa’s reindeer — and the Cirque Hoop Divers, acrobats dressed in charming and effective gold lamé. They look like globs of human mercury as they sail through hoops as high as 10 feet and as small in diameter as 18 inches.

Although the recorded soundtrack is an energetic mixture of original and traditional Christmas, it is way too loud to enjoy. (I wish I had had earplugs. It was that loud). The costumes are, as always, superb and the makeup and hair departments bring life to the show’s colorful characters.

There would be no Cirque de Soleil without the remarkable cadre of Cirque performers who exact the super-human from their human bodies, and ‘Twas is no exception. “How do they do that?” my friend and I kept asking each other, knowing full well that for our earth bound selves, these questions were merely rhetorical.

‘Twas the Night Before…’ – Conceived and Directed by James Hadley. Production by Cirque de Soleil at Boch Center Wang Theatre, 270 Tremont St., Boston through December 11.For more info and tickets, go to:

With ‘The Orchard,’ Arlekin Players Theatre’s Igor Golyak Continues To Push The Artistic Envelope 

Cast of ‘The Orchard’ at Emerson Paramount Center

by Shelley A. Sackett

Anton Chekhov’s play, ‘The Cherry Orchard,’ opened at the Moscow Art Theatre on January 17, 1904, under the direction of the actor-director Konstantin Stanislavski. During rehearsals, the director rewrote Act Two, changing the play from Chekhov’s intended light and lively comedy into a tragedy. Chekhov is said to have disliked the Stanislavski production so much that he considered his play “ruined.”

One can’t help but wonder what the Russian playwright would make of ‘The Orchard,’ Igor Golyak’s creatively incomparable and technologically unparalleled reimagining of this iconic classic.

The live version (there is also a simultaneous livestream version with many bells and whistles and interactive options) takes place on a surreal, stylized stage anchored by an enormous white robot arm that is strangely animate and huggable, like the Pixar hopping desk lamp on steroids. It also has the less endearing quality of a giant dental X-ray machine or unipedal CT scan.

The stage floor is covered in fluffy piles and the entire area is flooded in a blue light that feels like a cross between a dreamy moonscape and a post-apocalyptic nightmare. Are these mounds of fallen cherry blossoms or radioactive fallout? A Holo-Gauze screen (a highly reflective and transparent projection net which supports 3D polarized projections) separates the audience from the players. Large scale projections connect live and virtual audiences with feedback loops that expand the otherworldly sense of chaos and charade.

This is not a production for literalists, purists or those unable or willing to let go of the notion of control when it comes to live theater viewing. It also helps to have a cursory familiarity with Chekhov’s ‘The Cherry Orchard’ to keep from getting totally disoriented when Golyak takes us on a chaotic journey down the rabbit hole of his inventive artistry.

There’s so much happening onstage that looking for plot threads is as frustrating as it is fruitless.

In a nutshell, the Chekhov version revolves around Madame Ranevskaya (played by the ethereally luminous Jessica Hecht), an aristocratic Russian land-owner who returns to her family estate (which includes a large and well-known cherry orchard) just before it is auctioned to pay the mortgage. Unresponsive to offers to save the estate, she allows its sale to the son of a former serf named Lopakhin (played by the prodigiously talented Nael Nacer). As they struggle with the destruction of their world as they knew it, Ranevskaya’s family leaves their home to the sound of the cherry orchard being cut down.

Chekhov intended his comedic farce to dramatize the socioeconomic forces in Russia at the turn of the 20th century, including the rise of the middle class after the abolition of serfdom in the mid-19th century, and the decline of the power of the aristocracy.

Seeing a new riff on a Russian classic, however, is hardly what packed the house on opening night.

The real reason many attended the performance was, of course, to see the extraordinary Mikhail Baryshnikov in person performing as Firs, the 87-year-old former serf turned manservant. The esteemed actor and ballet genius did not disappoint.

The opening moments of the black-clad Firs twirling dervish-like and being blown about by the wind are worth the price of admission. Baryshnikov pirouettes across the stage with breathtaking grace and ease. For the remainder of the play, he handily steals every scene he is in.

The problem is that watching him is like trying to drive at night through the cloudy lens of a cataract. While the Holo-Gauze screen adds immeasurably to the virtual production, it is an annoying impediment for those watching live, like sitting in a seat marked “obstructed view.”

Nonetheless, ‘The Orchard’ is worth seeing if for no other reason than to follow the contemporary take the extraordinary Golyak has on the ‘The Cherry Orchard.’ His production reimagines both the classic and the ways in which the theater experience itself can be reinvented.

It is also great fun. There is a mechanical dog (Robotics design is by Tom Sepe), the captivatingly whimsical performance of Darya Denisova as Charlotta, and Anna Fedorova’s set enchantingly lit by Yuki Nakase Link. Oana Botez’s costumes are added eye candy.

Having seen both the live and online versions, I must say that rather than being duplicative or fungible, they are actually complementary visions of a single experience. Neither is complete without the other and each sheds light on its counterpart.

In the online version, for example, viewers can choose the camera angles from which they want to see the action and can exit the main stage to various other virtual rooms of the old house in which the play occupies but one part. It’s as if the audience has been put in charge of its own theatrical experience.

The live version has the opposite effect. With all the projected images and splicing in of the zoom gallery shots of the online audience, we are not only aware of the play’s concomitant virtual experience; we are captives in it.

When one of the actors say, “I have this strange feeling that I’ve just landed on the Moon,” the audience nods in agreement.

Golyak, whose family fled the Ukraine’s antisemitism in the 1990s, is a global leader in the virtual theater movement. In a press release, he highlighted the play’s personal and ongoing relevance as an analogy for so many current societal ills.

“This is a story about the delicate relationships at the center of a family facing the end of the world as they know it,” Golyak said. “We are living through an unimaginable time of change and destruction with the war in Ukraine. As humans, we are perpetually losing our cherry orchards, losing our worlds. This play is about us today.”

‘The Orchard’ — Conceived and Directed by Igor Golyak, based on ‘The Cherry Orchard’ by Anton Chekhov. Anna Fedorova, Scenic Designer. Yuki Nakase Link, Lighting Designer. Oana Botez, Costume Designer. Alex Basco Koch, Projection Designer. Tei Blow, Sound Designer. Jakov Jakoulov, Composer. Tom Sepe, Robotics Designer. Presented by Groundswell Theatricals and Arlekin Players and its Zero Gravity Virtual Theater Lab, at Emerson Paramount Center, the Robert J Orchard Stage, 559 Washington St., Boston through November 13.

For tickets and information, go to:

SpeakEasy’s ‘English’ Explores The Tipping Point Between Identity and Heritage

Cast of ‘English’ at Speakeasy Stage. Photos by Nile Scott Studios

by Shelley A. Sackett

SpeakEasy Stage’s production of Sanaz Toossi’s ‘English’ starts out simply enough. Four Iranian students are studying in Karaj for the Test of English as a Foreign Language Exam (TOEFL) , an English proficiency exam they must pass if they hope to pursue university study abroad, immigration and more. Their teacher, Marjan (a first-rate Deniz Khateri), rules her classroom with an iron fist. They will speak only English during class, and when anyone slips into Farsi, she posts a strike against them on her giant blackboard, practically snarling with scorn.

This is language immersion that is the equivalent of throwing a baby into the deep end to teach them to swim. Yet, her motive, at least in the beginning, seems pure and altruistic. She studied in Manchester, England, an experience that changed her life for the better and one she speaks of with near religious veneration. She believes that she and she alone can help her flock find this same path that opened her world, and she takes her role as their shepherd with the seriousness and zeal of a missionary.

[An effective and engaging scripted touch is that when the actors speak their native Farsi, they do so in fluent conversational English. When they practice English, their speech is more staccato, with a heavily accented cadence of a beginning foreign language student.]

Marjan insists her students leave their Iranian identities outside her classroom door. “English Only!” is underlined twice on the blackboard. The implication is clear — Farsi and all things Iranian are baggage that need to be shed if one is to “make it” in the global arena. “Speaking English is one of the greatest things two people can do together,” she coos, and she means it with all her being.

Her students don’t always agree. Roya (the splendid Layla Modirzadeh) needs to learn English so she can join her son and his family (including a granddaughter whose English name Roya can’t pronounce) in Canada, where they have emigrated and assimilated. She is the oldest of the students and the one with the longest and deepest roots in Iran.

When she learns that Marjan happily gave up her identity in England, letting others call her “Mary” for their convenience and ease, she chafes. People should not have to give up their names to learn a language, she says. “Our mothers get to name us. Not foreigners.”

Zaven Ovian, Deniz Khateri, Josephine Moshiri Elwood

Elham (compellingly played by the feisty Josephine Moshiri Elwood) has taken the TOEFL before and failed. More than the others, she needs to pass this test to pursue her goal of studying gastroenterology in Australia. In addition to her thick Farsi accent and lack of facility with languages,  she faces two other barriers: she despises English and how her voice sounds when she speaks it, and she can’t stand Marjan and her autocratic ways. That Marjan deliberately humiliates and picks on her adds fuel to her hot-blooded flame.

Goli (Lily Gilan James, a senior at Boston Conservatory at Berklee) is a compliant and reticent 18-year-old who happily does as she is told. She is the least interesting, with no axe to grind and nothing to prove. She just wants to pass the exam so she can go to a university outside Iran.

On the other hand, 29-year-old Omid (Zaven Ovian) is an enigma. His English is better than the teacher’s, and he comes up with complex and specific vocabulary, like “windbreaker” during a word game. He and Marjan bond inside and outside class over their seeming shared love of all things foreign, but Omid has a secret he keeps tight to his vest until the play’s end. Ovian splendidly plays out the mystery.

Director Melory Mirashrafi, a first generation Iranian-American, makes the most of Janie E. Howland’s well-designed set and a script that at times moves slowly.

Playwright Sanaz Toossi (who won this year’s Lucille Lortel Award for “English”) takes her petri dish of varied and complex characters and, over 100 intermissionless minutes, seamlessly interweaves engaging theater with an existential examination of identity, heritage, assimilation and alienation.

She poses many important and timely questions. Is there is a tipping point at which the loss of cultural identity outweighs the materials of life in one’s non-native land? Is voluntary immigration something to be encouraged or grieved? What about the generations, like Roya’s granddaughter, who will grow up without hearing Farsi or understanding her cultural heritage?

Is it worth leaving your homeland voluntarily, Toossi questions, to forever be branded a foreigner with an accent, the “other” who will always be asked, “where are you from?” [Toossi’s mother immigrated to the U.S. from Iran in the mid-1980’s following the Iranian Revolution].

When Elham returns to the classroom after taking (and passing with 99%) the TOEFL, it is not to gloat or thank Marjan, but to offer by example a lesson of how you can gain English language proficiency without losing your Iranian soul.

“You are Iranian but your English is a lot of things. It wants to be American and some of the time British and now it does not know what it is. When I speak English, I know I will always be a stranger,” Elham tells Marjan. “I hear my home. What do you hear?”

English’ –Sanaz Toossi, Playwright. Melory Mirashrafi, Director. Janie E. Howland, Scenic Designer. Nina Vartanian, Costume Designer. Amanda E. Fallon, Lighting Designer. Ash, Sound Designer. Emme Shaw, Props Designer. Presented by SpeakEasy Stage at the Roberts Studio Theatre, Calderwood Pavilion, Boston Center for the Arts, 527 Tremont St. Boston, through November 19, 2022.

For tickets and information, go to:

Bill Irwin Is Brilliant in ArtsEmerson’s Not-to-Be-Missed “On Beckett.”

Bill Irwin in “On Beckett” at ArtsEmerson

‘On Beckett’ — Conceived and Performed by Bill Irwin. Produced by Octopus Theatricals; Scenic Design by Charles Corcoran; Costume Consultation by Martha Hally; Lighting Design by Michael Gottlieb; Sound Design by M. Florian Staab. Presented by Arts Emerson at the Emerson Paramount Center, 559 Washington St., Boston, MA through October 30.

by Shelley A. Sackett

Bill Irwin is a legendary actor, writer, director and clown artist. The Tony award-winner is as known for serious theatrical roles on Broadway as he is for his beloved Mr. Noodle on television’s “Elmo’s World.”

With “On Beckett,” his solo exploration of his decades long relationship with the Irish playwright, Samuel Beckett, Irwin takes on yet another role — that of compassionate guide through the sticky wickets of Beckett’s intimidating and often baffling prose and plays.“Here is what I am proposing to you this evening,” he tells the audience with an intimacy and earnestness that has them in the palm of his hand from the get-go. “I’m not a scholar or a biographer,” he says almost apologetically, implying that those who expect a pedantic lecture from the head will be disappointed. “I am an actor and a clown and what I have is an actor’s knowledge” of Beckett, he says. And what a trove of treasures that is.

What Irwin brings to the table and generously shares is of far greater value and infinitely more enjoyable than a straight out lecture. He discloses what it has been like for him to experience Beckett’s language from the inside out, as one who has been entrusted with the sacred task of memorizing the writer’s words, processing them through his Bill Irwin persona, and then speaking them to a contemporary audience as he imagines Beckett himself intended.

For an absorbing, enlightening and entertaining 90 minutes, Irwin shines his inner light on four works by Beckett: Texts for Nothing, Watt, The Unnamable and Waiting for Godot. He peppers his readings/performances with anecdotes and observations, revealing what it feels like as an actor and as a human being to mouth the words of the great existentialist and arguably the greatest playwright who ever penned a line of dialogue.

His approach blends the physical (often hilarious) and emotional as he digs deep into Beckett’s “character energy,” managing to keep the evening challenging enough for aficionados of the work and light enough for novices. “These are like people I’ve known. Like my own mind — me, myself and I in conversation,” he says, bringing Beckett’s often lofty language down to earth.

Which is not to say he doesn’t pose heady questions meant to expand our thinking about Beckett, ourselves and the world we live in. “Was Beckett a writer of the body or mind?” he asks. Midway through the enjoyable and impactful evening, Irwin addresses the elephant in the room. “Is this a portrait of existence?” he asks of a passage in The Unnameable. “What is it?”


He then gives an easy-to-digest short treatise on existentialism, pithy and humorous, yet also the product of a deep thinker who has spent years pondering these questions both on and off stage. It is no surprise to learn he has won Fulbright, Guggenheim, National Endowment for the Arts and MacArthur Fellowships. His explanations and analyses are brilliant. “These are the precise but undefinable questions that keep us awake,” he says before adding,” and put us to sleep.”

As expected of a lauded actor and director, his timing and punctuation is perfect. But Irwin is also a clown, and when he grabs his bowler and baggy pants, the evening shifts gears. Although Beckett’s words carry no less weight and Irwin’s performance embodies that gravitas, it is now clothed in the shimmering gossamer of physical comedy, taking the sting out of some of the words by allowing us to laugh at them and, by extension, at ourselves. Sure, existence is tough and death is even tougher, but let’s not forget that we were also created to laugh, Irwin reminds us.

Irwin appeared with Steve Martin and Robin Williams in the Lincoln Center Off-Broadway production of Waiting for Godot in 1988, in the role of Lucky. Lucky’s only lines consist of a famous 500-word-long monologue, an ironic element for Irwin, since much of his clown-based stage work was silent.

He treats us to a remarkable rendition and, at the end of the show, frankly admits that even after all these years, some of Beckett’s language remains beyond his grasp. “I keep discovering new things in the words,” he says. “I don’t know why. I don’t know how an airplane stays up in the air either, but I still want to climb onboard.”

Act NOW and you might just be lucky enough to catch one of the last Boston performances. Whether you’re encountering the Nobel Prize winner’s writing for the first time, or building on a body of Beckett knowledge, this dynamic showcase is not to be missed.

A Magnificent ‘Joe Turner’s Come and Gone’ Heralds the Huntington’s Jubilant Homecoming 

Patrese D. McClain and James Ricardo Milord (foreground) and cast in ‘Joe Turner’s Come and Gone’ at The Huntington.

‘August Wilson’s Joe Turner’s Come and Gone’ by August Wilson. Directed by Lili-Anne Brown; Arnel Sancianco, Scenic Design; Samantha C. Jones, Costume Design; Jason Lynch, Lighting Design; Aubrey Dube, Sound Design. Presented by The Huntington Theatre through November 13.

by Shelley A. Sackett

What a pleasure it is to have the Huntington Theatre Company back. With its sleek Narragansett Green walls, gold domed ceiling and cherry red extra legroom seats, an always pleasurable theatrical experience is now also one full of creature comforts. Even more stunning, however, is the magnificent production of August Wilson’s Joe Turner’s Come and Gone, with which the Huntington christened its reopening. If Joe Turner’s footprints lingered long after he had gone, it’s because Wilson’s unforgettable presence (and titular title as the Huntington’s creative patron saint) enveloped the stage.

Other than sporadic trouble understanding and hearing some of the actors, the production is flawless. Arnel Sancianco’s set captures the pressed oak Victorian glory of an architectural era resplendent in its attention to eye candy detail, including a grand staircase and welcoming dining room table. A crystal clear sound system does justice to Aubrey Dube’s acoustic period selections (always a pleasure to hear Mississippi John Hurt sounding authentic but not like he’s singing underwater). And Samantha C. Jones’s costumes (especially the women’s hats) and Jason Lynch’s lighting (which manages to track the sun’s movement) are icing on the cake.

And that’s before we get to the cast’s universally brilliant acting and Lili-Anne Brown’s spot-on, outstanding direction.

First, though, a little historical background is in order. The title, Joe Turner’s Come and Gone, refers to Joe Turney, the brother of former Tennessee Governor Peter Turney. In the late 19th Century, Joe Turney was responsible for transporting black prisoners from Memphis to the Tennessee State Penitentiary, located in Nashville. Instead, Turney abused his role by running a network of “convict leasing.” He was also known for swooping down on innocent freed blacks and illegally enslaving them for seven years, often to work on his own farm. When men turned up missing in black communities, word quickly spread that “Joe Turner’s come and gone.”

Against this harsh backdrop of the Jim Crow lawless post-Civil War America, Wilson introduces us to his cast of vivid characters.

It’s 1911 and Seth and Bertha Holly run a “respectable” boardinghouse in Pittsburgh. Seth (played with pitch perfect comedic timing by Maurice Emmanuel Parent), its owner, inherited the property and business from his parents. He was born to free African-American parents in the North and is a real killjoy. Set in his ways, he is happy to assimilate to the degree he is allowed, and is economically shrewd and heartlessly capitalistic.

Bertha (the sublime Shannon Lamb), his wife of 25 years, is a loving mother to her boardinghouse family. Although she knows her place, she manages to manipulate Seth’s decision-making in subtle yet effective ways. Love and laughter get her by. She embraces Northern ways (including Christianity), but her heart and spirit remain tied to her African ancestors.

Bynum Walker, a 60ish “conjuror” who practices healing arts with herbs, incense and song, is Seth’s foil. As portrayed by Robert Cornelius, Bynum is both as large as a giant and as gentle as a lamb. He is as grounded in his roots and heritage as Seth is in his denial of them. In touch with his inner soul and identity, he offers to help those lost to themselves and others with his powers to “bind.” Bynum is part shaman, philosopher and therapist — and all compassion. He has lived at the Holly’s for a while and moves about as comfortably as if he were a blood relation.  

Jeremy Furlow (an exuberant Stewart Evan Smith), 25, is trying to find his identity as a member of the younger generation of newly liberated slaves. He is footloose and itching to travel the nation with his guitar and fancy green suit. In the meantime, he works anywhere that will hire him building whatever needs building. He naively chafes at the racial injustice he encounters and will accept the company of any woman who accepts his as he tries to find his perfect mate.

Robert Cornelius, Shannon Lamb, Maurice Emmanuel Parent and Stewart Evan Smith

The only white character in the play, Rutherford Selig (a suitably sycophantic and tone deaf Lewis D. Wheeler) is a peddler known as the “people finder.” He was also a fugitive slave finder, like his father (his grandfather ran the first ships, we’re told, that captured Africans and brought them to America to become slaves). He acts as middleman for Seth’s hand-crafted dustpans and keeps a tight record of everyone he meets on his travels.

Mattie Campbell (an earnest Al-nisa Petty), a young woman who finds Seth’s when she seeks Bynum’s help in binding her to her missing boyfriend, is disappointed in the life that has left her a bereaved mother of two dead babies and a jilted girlfriend. By contrast, the last thing Molly Cunningham (the slinky Dela Meskienyar), another tenant in her mid-20s, wants is to be bound to anyone or anything — except maybe her mama. She is independent, spoiled and totally aware of the power her striking looks and wardrobe afford her.

Into this ersatz family wanders Herald Loomis (brilliantly embodied by James Milford), a former deacon and odd man who dons an overcoat in August, and his skinny 11-year-old daughter Zonia (Gray Flaherty at last Sunday’s matinée). He has the skittish mannerisms of one suffering from post-traumatic stress disorder. He has been travelling from town to town, looking for his wife, Martha Loomis. The last time he saw her was 11 years ago, right before Joe Turner captured and enslaved him for seven years. By the time he was freed, Martha had fled. He’s been on the road looking for her for four years, Zonia in tow.

Wilson is a maestro at creating masterpieces that illustrate the Black human condition in America. Armed with this rich palette of characters and his magic wand of a brush, he paints a picture rich in both human emotion and historical context. He doesn’t polemicize, castigate or lecture, yet he makes his points about racial injustice, Black diaspora, migration and the irredeemable evil and gall of kidnapping and slavery. His wholly fleshed out characters let us through the keyholes of their lives and by the end of the play, we have connected the dots.

The specific plot twists and turns are too numerous (and contain too many spoilers) to detail here, and Wilson is more about the journey than the destination anyhow. By the end of the almost three hour (with intermission) play, the audience has experienced the pain and promise of the post-slavery years and the power of community to heal and revive a broken and lost soul.

Everyone at the boardinghouse is searching for their missing piece. Unspeakable horrors and disruptions untethered men like Herald Loomis, who has lost his sense of who he is because he cannot remember who he was before he was enslaved. For men like Seth, who has only known life in the North, slavery and its consequences are more hearsay than heartache. He’s more concerned with keeping what’s his in the face of the increased competition post-emancipation northern migration has wrought. He knows the system is, and always will be, rigged against him. His mission is to squeeze through the loopholes unnoticed and differentiate himself from these newly arrived migrants.

Seth is also a pragmatic man who doesn’t feel the need to seek meaning or purpose by way of spirituality or a return to his African roots. Christianity and churchgoing is as much about fitting in as it is about religion.  Of Bynum’s shaman-like behavior, he says, “All that old mumbo jumbo nonsense. I don’t know why I put up with it.”

Bynum, on the other hand, is at peace with himself and the world as he finds it. He believes himself to be part of a “grand design,” a belief that ultimately allows him to “swallow any adversity.” For Bynum, his spirituality and helping others re-find themselves become a way of making sense and finding his own purpose in an unpredictable world.

Straddling the two is Bertha, who is as down to earth and practical as Seth but takes comfort in Bynum’s old forms of African healing and mystical practices. One of the highlights of the play is the joyful “Juba” dance around the kitchen table where all but Herald participate and lose themselves in a moment of communal ecstasy. (The Juba dance was originally brought by Kongo slaves to Charleston, S.C.).

By the play’s end, Loomis (and several others) have found their inner song and are on the path to exploring their identity, and the audience standing has found itself in thunderous applause. Wilson’s words and spirit spin a magic that will resonate long after the last cheer has faded. Highly recommended.

For tickets and information, go to:

Dorset Theatre Festival Closes The 2022 Season in Triumph with Its Remarkable World Première of “Thirst”

 David Mason and Kathy McCafferty in THIRST at the Dorset Theatre Festival. Photos by Joey Moro

by Shelley A. Sackett

Arriving early for “Thirst,” playwright Ronán Noone’s dazzling new play, is a stroke of good ole Irish luck. A crisp sound system pumps toe-tapping traditional pub music, setting a jig-worthy mood. Functional period lamps bathe the livable kitchen set in warmth, creating a cozy tone for arguably the best theatrical experience of the 2022 summer season.

By the time the Irish lilted announcements herald the play’s start, the audience has been transported to another time and another place.

And what a time and place it is.

Noone sets “Thirst” in the kitchen of the Tyrone family’s seaside Connecticut home on the August day in 1912 when Eugene O’Neill’s classic tragedy, “A Long Day’s Journey Into Night” takes place. [Although familiarity with that play is not a prerequisite to “getting” ‘Thirst,’ Noone sprinkles his script with delicious breadcrumbs for those who have tasted the original to follow.]

While the Tyrones spend the day destroying themselves and each other offstage in their toile-wallpapered dining room, their cook, kitchen maid and chauffer spend theirs in the kitchen, sitting around the table together, enjoying their privacy and relative freedom while performing their demeaning menial duties. Their individual posts may have led them to this quasi-family-by-default situation, but they are genuine in their interactions. They bicker, they laugh, they tease and they worry. But they do it together, and it comes from their hearts. They genuinely need and enjoy each other’s company.

Each brings a different, but similar, back story to the mix.

Bridget Conroy emigrated from Ireland 16 years ago to become the Tyrone’s cook. Her outer shell is brittle and cynical, but she saves her harshest criticism and reproach for herself, especially for her closeted alcoholism. Yet, the only time she emerges from her carapace is when she’s juiced enough to black out the shame and regrets that poison her every sober breath and thought. Only then can she express — and admit to — the love and need she has for Jack.

Meg Hennessy, McCafferty

For his part, Jack Smythe, a local native and the Tyrone’s chauffeur, grew up poor in this place that is playground to the spoiled rich. He yearns to leave his hometown with its paper trail witnessing his past transgressions and finally, as he approaches middle age, set out to secure his independence and happiness.

Last, but hardly least, is the winsome new arrival, Cathleen Mullen, Bridget’s 18-year-old niece who miraculously survived her trip over on the ill-fated Titanic. She is feisty and blindly optimistic, determined to climb the golden ladder of American success.

These three flawed characters bring real troubles and equally real compassion to their shared  table. Bridget was banished from her home after giving birth at age 16; that birth is only thing she has done in her life that she’s proud of, in spite of its personal cost. Like the penitent sinner she believes herself to be, she dutifully sends money and a letter to her family every week. In 16 years, she has received not even a postcard in return. Although she loved the beach in Ireland, she won’t go to the sea just down the street, either because it makes her too homesick or because she must deny herself all pleasure as penance for her sin, or — most likely — both.

Jack was a drunk, so far gone he couldn’t face his wife’s illness and death and even missed her funeral, when Bridget found him in the street and, like a sick stray, took him home and nursed him back to physical and spiritual health. In return, Jack is determined to offer her the same life raft and save her from a life of self-pity and recrimination — a life he knows too well — not because he owes her, but because he loves her.

Cathleen’s bubble is burst when, shortly after arriving in America, she receives a letter from her fiancé announcing he is ditching her for a woman with property. She’s more annoyed and humiliated than heartbroken. Young, ambitious and resilient, she naively throws herself behind a ditzy plan to become the next “it” girl on Broadway.

These three have more in common than their woes, regrets and heartbreaks. They are survivors and they share a determination to live, no matter the consequences. They also really care about each other. Noone, with his well-tuned ear and light touch, pens robust yet sleek dialogue that tackles a lot of big ticket topics (shame, redemption, assimilation, discrimination to name a few) while staying grounded in the here and now of these three individuals and their intertwined daily lives.

By Ronán Noone Directed by Theresa Rebeck, Scenic Design: CHRISTOPHER & JUSTIN SWADER, Costume Design: FABIAN FIDEL AGUILAR, Lighting Design: MARY ELLEN STEBBINS, Sound Design: FITZ PATTON, Stage Manager: AVERY TRUNKO

Rebeck’s direction is economical, efficient and effective, and she lets each actor spread their wings and breathe life and individuality into their characters. They inhale, they exhale, they react, interact and bring each other lightness and laughter. Kathy McCafferty, as Bridget, is a whirling dervish of anger and productivity, and the kitchen is her made-to-order stage. She cooks (making real scrambled eggs over a real range), scrubs, arranges, rearranges and throws pots and pans, all while letting fly mouthfuls of rapid-fire heavily accented lines.

David Mason brings a lanky self confidence and Kevin Costner-esque genuineness to his Jack. He is a regular, decent guy who made a mistake, acknowledges it and just wants a shot at the brass ring with the girl of his dreams — nothing more, but nothing less.

Rounding out the trio is the lithesome and impossibly creamy-skinned (think yogurt, not heavy cream) Meg Hennessy as the vivacious Cathleen. She brings comic timing, physicality and a gift for facial mood changes that are as talented as they are entertaining.

If there is a flaw, it is that the women’s accented rapid-fire delivery is often muffled or lost, a shame (and annoyance) considering the richness of Noone’s craftmanship. A little microphone could go a long way.

That aside, there are too many positives to give them all justice. Mary Ellen Stebbins’ lighting paints the day’s passing with a sun shape shifting across the kitchen walls. Fitz Patton makes optimum use of a terrific sound system. And Christopher and Justin Swader’s set design, with its punctuating swinging back door, adds more than a mere scenic element — it is an escape route from all the Tyrone kitchen represents to a world of fresh air and fresh starts.

That door swings both ways. Jack and Bridget, after two plus hours, finally manage to cross over the threshold to the land of hope and promise. And Cathleen? Only time — and perhaps a sequel — will tell.

‘Thirst’ — Written by Ronán Noone. Directed by Theresa Rebeck; Scenic Design by Christopher and Justin Swader; Sound Design by Fitz Patton; Lighting Design by Mary Ellen Stebbins, Costume Design by Fabian Fidel Aguilar. Presented by Dorset Theatre Festival, Dorset, Vermont. The run has ended.

Gloucester Stage’s ‘Grand Horizons’ Asks, “After 50 Years of Marriage, What’s Love Got to Do with It?

Cast of Gloucester Stage’s ‘Grand Horizons’

by Shelley A. Sackett

Nancy and Bill (played by real life spouses and stellar actors Paula Plum and Richard Snee) are introduced in their cookie cutter split level house as they go about their chores preparing for dinner. Silently and robotically, they perform their choreographed rituals. Bill sets the table; Nancy dishes out the food. Is this a couple so in sync after so many years that they don’t need to talk or is each seething with rancor just below their calm demeanor?

Finally, Nancy speaks. “I think I would like a divorce,” she says matter-of-factly. “All right,” Bill responds.

With all the subtlety of a network TV sitcom, their thirty-something sons, Ben (Jeremy Belize) and Brian (Greg Maraio) burst through the front door of their Grand Horizons independent-living home, outraged and sputtering about their parents’ obligation to stay together for the sake of the kids, especially since they’re almost dead anyway. “You’re almost 80. How much else even is there?” asks the stereotypical and bossy first-born Ben. Brian, the self-absorbed, whiny, indulged “baby,” just wants the nest he grew up in and never really left to remain intact.

Paula Plum, Greg Maraio, Richard Snee

Nancy, a retired librarian, has other ideas. After a loveless marriage, she feels like time is running out. “I want to be seen, praised and appreciated,” she says. She also wants to change the role she plays with her sons from their caregiver to adult peer. “You have to hear this,” she tells a resistant Brian as she reveals details of her intimate life he would rather not hear. “I will be a full person to you.”

For his part, Bill just wants to tell a decent joke and to that end has enrolled in a comedy class at the recreation center. A grump with questionable timing, his future as a stand up comic is less than assured.

Paula Plum, Greg Maraio

The remainder of the two hour (including intermission) production examines what happens to this family when its foundation cracks. The sons rant, rave and pout in a cardboard two-dimensional orbit. Ben’s wife, Jess (Marissa Stewart), a caricature of a touchy-feely therapist, urges her in-laws, who were never physically close, to begin the healing by holding hands. The “kids” prefer their la-la land of denial to facing the mature realities and responsibilities of adulthood. Their parents’ actions are a shot across the bow of their own lives they are unable to appreciate.

Nancy and Bill are written with more complexity and their calm acceptance and assessment of life’s vicissitudes is a welcome respite from the slapstick, hit-or-miss dirty jokes and gratuitous gay romp scene. Plum’s comedic physicality is understated (the sandwich scene is a knockout) and her verbal timing and intonation are, as always, impeccable. Snee brings a relaxed and easy calm to Richard, letting his softer and more vulnerable side quietly seep through his hardened, gruff exterior.

Snee, Plum

It is through them that Wohl asks the big ticket questions she wants us to consider: What is a “great” marriage? When (if ever) does a couple’s duty to sacrifice their own happiness and stay together for the sake of their kids shift? At what point do parents have a responsibility to treat their children like the adults they are and force them to grow up and stand on their own two feet? Is it ever too late to shift gears and change the course of a life-long marriage?

And, perhaps most important, what exactly is love?

Although the play at times seems to wander in search of its genre, Wohl’s underlying messages, the terrific Plum and Snee and a killer ending to Act I save the day.  For tickets and information, go to:

Written by Bess Wohl; Directed by Robert Walsh; Scenic Design by Jenna McFarland Lord; Costume Design by Chelsea Kerl; Lighting Design by Anshuman Bhatia; Sound Design by Dewey Dellay. Presented by Gloucester Stage through August 21.